Hector Berlioz - Béatrice & Bénédict (1862) - "Nuit paisible" (Sylvia McNair & Catherine Robbin) - YouTube Hector Berlioz - Béatrice & Bénédict (1862) - "Nuit paisible" (Sylvia McNair & Catherine Robbin) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Jun 1, 2009 "A caprice written with the point of a needle" - Berlioz on "Beatrice et Benedict". The comic opera "Beatrice et Benedict", based on a simplified version of the plot of Shakespeare's "Much ado about nothing" and composed between 1860 and 1862, was Berlioz's last major work and, though warmly received at the premiere at Baden-Baden, it never gained a place in the standard repertory.

The plot, as it is usually with Shakespeare, is clearly drawn: Beatrice (mezzo-soprano, niece of the governor of Messina, Leonato) scorns the soldier Benedict (tenor) who returns her favors. Under the direction of Benedict's brothers-in-arms, Don Pedro (bass) and Claudio (baritone), the whole cast begins to float a rumor that the pair are actually madly in love with each other which leads both to question the nature of their dislike for each other. The plot culminates during Claudio's (baritone) and Hero's (soprano, daughter of Leonato) wedding where a second blank contract is produced and promptly and willingly signed by both the title heroes to the joy of all assembled. It would be all too difficult to describe my joy as I finally began listening to the opera which I have been eagerly awaiting to hear for quite some time. In some ways, the experience was well worth the long wait.

Overall, I enjoyed it much more than, for example, "Cellini": refusing the brutality and extremes of the latter, "Beatrice" adopts a more elegant musical idiom, somewhat similar, in my opinion, to the wit of Rossini and the grace of Paisiello and Mozart, and, in fact, a more conservative musical language, thus, most numbers feature the familiar andante-allegro structure further aided by the inner energy of Berlioz's music. There is little altogether lacking in musical inspiration: even the pointless addition by Berlioz of the character of the music master, Somarone (bass), gives way to some of the most enchanting babble. One can note several obvious examples of Berlioz's generous music making, such as the suitably fresh entrance duet for the title heroes. If there is a problem with the work, it has to be the treatment of the main conflict itself: the plot to bring together the "lovers" of the title is thinly developed, thus, the final denouement is somewhat unsatisfying, as we have not been able to see the growth of felling between the ill-fated enemies (come to think of it, neither is Shakespeare's variant better).

An additional hour of confusion for the heroes would have helped to make their final marriage more believable. Moreover, such a situation leads to a felling of constant omissions: for example, there is no logical duet between the lovers, as they confront each other and their feelings for each other near the end of the work. This underrepresentation does not, though, detract from the extreme charm of the piece and its great musical richness, quite the contrary: the overall effect is that of a work left unfinished by its creator but still offering much joy and thrill, almost demanding the question "How it could have been, if the composer were to continue?" The recording is an excellent one, featuring some truly outstanding female singing: John Nelson - Conductor, Don Pedro - Vincent Le Texier. Hope you'll enjoy :). P.S. I'm going to post some additional music tomorrow :). Category Béatrice et Bénédict: Synopsis mezzo-soprano Townspeople, soldiers Synopsis by D. Kern Holoman, following the version published in the New Grove Dictionary of Opera. The celebrated overture, though not a potpourri in the usual sense, characterizes the substance of the opera by alluding to quite a number of passages to follow.

Sicily: the town of Messina. The first act takes place in the garden of Leonato, the governor. The townspeople rejoice that the invading Moors have fled from Don Pedro and his force. Soon the victors will be home, and Hero will be reunited with her intended, Claudio. Less pleased is Beatrice, her cousin, to contemplate the return of Benedick, with whom she has long enjoyed "a kind of merry war." Those so far assembled dance a sicilienne based on Berlioz's flrst published song, Le Dépit de la bergère (c. 1819)--an acknowledgment, perhaps, that he expected Béatrice et Bénédict to be his last work. Hero's aria is one of ecstasy at the thought of seeing Claudio again. Don Pedro and his retinue arrive; at once Beatrice and Benedick, in their duet, begin to taunt each other. The wedding of Hero and Claudio will take place that evening--an example, it is noted, that should tempt Benedick.

In his trio with Claudio and Don Pedro, Benedick insists he would much prefer the cloistered life to marriage: if ever he consents to that yoke, they can put a sign on his roof, "Here you see Benedick, the married man." Following his exit, his companions determine to trick Beatrice and Benedick into acknowledging their love. Somarone, the maestro di cappella, whose gifts of composition are questionable, arrives with his choristers and oboists to rehearse the nuptial song, an absurd double fugue; a reprise with comic oboe ornamentation is offered before Don Pedro. Benedick, hidden behind a hedge, overhears an arranged conversation to the effect that Beatrice is indeed in love with him; suddenly he begins to consider some of the advantages of marriage. Hero and Ursula, having arranged a similar ruse as regards Beatrice, come to the garden to escape the festive commotion within.

During their famous Duo-Nocturne, "Nuit paisible et sereine!," Hero's access of melancholy is calmed by the play of moonlight and shadows, the breeze's caress, the murmur of nightingale and crickets, the aroma of spring blossoms. The effect is much the same as in "Nuit d'ivresse" from Les Troyens. The entr'acte is a reprise of the sicilienne. Act 2 takes place in a great hall in the governor's palace, with the wedding banquet in an adjoining room offstage. The guests, drinking heavily, prevail on Somarone to improvise a song on the merits of the local wines, accompanied by a rustic band and the pounding of wine-glasses on the tables; with effort, on stage, he finishes a second verse. Beatrice, in her aria, acknowledges that she, too, has fallen victim to love. Hero and Ursula, recognizing the change, join her in a trio of promised joys and happiness; Beatrice is lost in thought as an offstage chorus summons the bride.

In a chance encounter Beatrice and Benedick, each safe in the knowledge that the other has been uncontrollably smitten, continue mercilessly to bait each other. The bridal procession enters. After the bride and groom have signed their contract, the scribe produces a second, asking who else wishes to be married. Beatrice and Benedick take each other out of pity, and banners bearing the words "Ici on voit Bénédict, 1'homme marié" are duly proffered. A truce has been signed; the warring will recur on the morrow. Béatrice et Bértédict represented for Berlioz a lighthearted turn away from the rigors of Les Troyens. Whereas the Virgilian tragedy summarizes the epic tendencies of his imagination, Béatrice et Bénédict affirms both his mordant wit and his overall good humor. He was pleased to return to Italian subject matter and to music of triple meters, street dances, tambourines and guitars. Somarone is Berlioz's invention; his line "The piece which you are about to have the honor to perform is a masterpiece!

Let us begin!" is said to have been uttered by Spontini at a rehearsal of Olympie in Berlin. Elsewhere the text often follows Shakespeare closely. Berlioz's Opera “Béatrice et Bénédict” at the Capitole Berlioz's Opera “Béatrice et Bénédict” at the Capitole Published on 06-13-2016 Agenda Treat yourself to Berlioz's light and joyful opéra comique, inspired by Shakespeare and performed at the very heart of the “pink city”. Béatrice et Bénédict was composed by Berlioz at the end of his life. Based on Shakespeare's Much Ado About Nothing, it is eloquent, humorous, tender and poetic. The composer retained only the play's secondary characters to sign, in his own words, “a caprice, written with the tip of a needle,” in which “Béatrice and Bénédict, who absolutely hate each other, must fall in love”. It is with the eyes of love that we shall forever remember Béatrice, renouncing the immaculate world of her youth in this opéra comique of irresistible charm.

Tito Ceccherini, music director, Richard Brunel, opera director, and Catherine Ailloud-Nicolas, dramaturge, give a new turn to this production. The main characters are played by Julie Boulianne as Béatrice, and Joel Prieto as Bénédict. Béatrice et Bénédict Learn and talk about Béatrice et Bénédict, 1862 operas, French-language operas, Operas, Operas based on works by William Shakespeare Béatrice et Bénédict (Beatrice and Benedick) is an opéra comique in two acts by Hector Berlioz . [1] Berlioz wrote the French libretto himself, based closely on Shakespeare 's Much Ado About Nothing . Berlioz had been interested in setting Shakespeare's comedy since his return from Italy in 1833, but only composed the score of Béatrice et Bénédict following the completion of Les Troyens in 1858. It was first performed at the Theater der Stadt, Baden-Baden on 9 August 1862.

[2] Berlioz conducted the first two performances of a German version in Weimar in 1863, where, as he wrote in his memoirs, he was "overwhelmed by all sorts of kind attention." It is the first notable version of Shakespeare's play in operatic form, and was followed by works by among others Árpád Doppler, Paul Puget and Reynaldo Hahn . [3] Berlioz biographer David Cairns has written: "Listening to the score's exuberant gaiety, only momentarily touched by sadness, one would never guess that its composer was in pain when he wrote it and impatient for death". [4] Contents Performance history[ edit ] First edition vocal score title page, with illustration by A. Barbizet. Berlioz described the premiere of Béatrice et Bénédict as a "great success" in a letter to his son Louis; he was particularly taken with the performance of Charton-Demeur (who would create the role of Didon in Paris a year later) and noted that the duo which closes the first half elicited an 'astonishing impact'.

[5] Although it continued to be staged occasionally in German cities in the years after the premiere, the first performance in France only took place on 5 June 1890 at the Théâtre de l’Odéon , promoted by the Société des Grandes auditions musicales de France, conducted by Charles Lamoureux , and with Juliette Bilbaut-Vauchelet and Émile Engel in the lead roles. [6] Paul Bastide conducted a notable production of Béatrice et Bénédict in Strasbourg in the late 1940s. [7] It was produced at the Paris Opéra-Comique in 1966 conducted by Pierre Dervaux but with recitatives by Tony Aubin , [8] and in February 2010 under Emmanuel Krivine . [9] The UK premiere was on 24 March 1936 in Glasgow under Erik Chisholm . [10] English National Opera opened a production on 25 January 1990, with wife and husband Ann Murray and Philip Langridge in the title roles.

[11] Although rather infrequently performed and not part of the standard operatic repertoire, recent productions have included Amsterdam and Welsh National Opera tour in 2001, Prague State Opera (Státní opera Praha) in 2003, Santa Fe Opera in 2004, Strasbourg in 2005, Lyric Opera of Chicago in 2007, Houston Grand Opera in 2008 (in English), Opera Boston in 2011, Theater an der Wien in 2013, and Glyndebourne in 2016. The first Swedish production of the opera was at Läckö Castle in 2015. Music[ edit ] The overture (sometimes played and recorded separately) alludes to several parts of the score without becoming a pot-pourri . [2] The opera opens with a rejoicing chorus and Sicilienne . Héro has a two-part air where she looks expectantly to the return of her love, Claudio. [12] The sparring between Béatrice and Bénédict begins in the next musical number, a duo.

An allegretto trio of "conspiratorial humour" for Don Pedro, Claudio and Bénédict, [4] consists of the latter expounding his views on marriage to which the others pass comment. After Somarone has rehearsed his Epithalame grotesque (a choral fugue about love), Bénédict's fast rondo reveals that he has fallen for the plot and will try to be in love. The act ends with a nocturne for Héro and Ursule – a slow duo in 6/8 which W J Turner described as "a marvel of indescribable lyrical beauty" [12] and which Grove compares to "Nuit d'ivresse" in Les Troyens. [2] The second act opens with a drinking song for Somarone and chorus with guitar and tambourine prominent. [2] Next, in an extended air across a wide melodic span, Béatrice acknowledges that she too is powerless against love and in the following trio (added after the premiere) Héro and Ursule join her to extol the joys of marriage.

There is a marche nuptiale and the work ends with a brilliant duet marked scherzo-duettino for the title characters whose "sparkle and gaiety" end the comedy perfectly. [12] Act 1[ edit ] Don Pedro, prince of Aragon , is visiting Messina after a successful military victory over the Moors , which is celebrated by all of Sicily. He is joined by two friends and fellow soldiers, Claudio and Bénédict. They are greeted by Léonato, governor of Messina, together with his daughter, Héro, and niece, Béatrice. Héro awaits the return of her fiancé, Claudio, unwounded and rewarded for his valour. Béatrice inquires about and scorns Bénédict. They trade insults, as they have in previous meetings, and tease each other. Bénédict swears to his friends that he will never marry. Later, Claudio and Pedro scheme to trick Bénédict into marrying Béatrice. Knowing that he is listening, Léonato assures Pedro that Béatrice loves Bénédict.

Upon hearing this, Bénédict resolves that Béatrice's love must not go unrequited, and so he decides to pursue her. Meanwhile, elsewhere, Héro and her attendant, Ursule, manage to play a similar trick on Béatrice who now believes that Bénédict is secretly in love with her. Act 2[ edit ] To celebrate the pending wedding of Claudio and Héro, Léonato hosts a masquerade party . A local music teacher, Somarone, leads the group in song and everybody enjoys themselves except Béatrice who realizes that she has fallen in love with Bénédict. With Héro and Ursule she sings of the happiness of a bride about to be wed. As she turns to leave she is met by Bénédict, prompting an exchange in which they both attempt to conceal their love for each other. A notary solemnizes the marriage of Claudio and Héro, and, as arranged by Léonato, produces a second contract, asking for another couple to come forward.

Bénédict summons the courage to declare his love to Beatrice; the two sign the wedding contract, and the work ends with the words "today a truce is signed, we'll be enemies again tomorrow". Recordings[ edit ] There are several recordings of the opera. The overture, which refers to several passages in the opera without becoming a pot-pourri , is heard on its own in concerts and has been recorded many times. References[ edit ] ^ Berlioz and the Romantic Imagination. Catalogue for exhibition at Victoria and Albert Museum for Berlioz centenary. Art Council, London, 1969, p. 46, exhibit 131 (orchestral manuscript score). ^ a b c d Holoman DK. Béatrice et Bénédict. In: The New Grove Dictionary of Opera. Macmillan, London and New York, 1997. ^ Wilson CR. Shakespeare. In: The New Grove Dictonary of Opera. Macmillan, London and New York, 1997. ^ a b Cairns, D . Berlioz: Servitude and Greatness 1832–1869.

Allen Lane, London, 1999, p. 670. ^ MacDonald, Hugh (Ed). Selected Letters of Berlioz (translated by Roger Nichols). Faber & Faber, London, 1995, letter 407. ^ Noel E & Stoullig E. Les Annales du théâtre et de la musique, 16e édition, 1890. G. Charpentier et Cie, Paris, 1891, pp. 139–145. ^ Pitt C. Strasbourg. In: The New Grove Dictionary of Opera. Macmillan, London & New York, 1997. Original courtesy of Wikipedia: éatrice_et_Bénédict — Please support Wikipedia. This page uses Creative Commons Licensed content from Wikipedia . A portion of the proceeds from advertising on Digplanet goes to supporting Wikipedia. We're sorry, but there's no news about "Béatrice et Bénédict" right now. Limit to books that you can completely read online Include partial books (book previews) Oops, we seem to be having trouble contacting Twitter Support Wikipedia A portion of the proceeds from advertising on Digplanet goes to supporting Wikipedia.

Please add your support for Wikipedia! Searchlight Group Digplanet also receives support from Searchlight Group. Visit Searchlight Copyright © 2009-2016 Digparty. All rights reserved. beatrice et benedict | Tumblr beatrice et benedict Acte I, No. 8 / Duo (Nocturne): Vous soupirez, Madame? - Nuit paisible et sereine [Ursule, Héro] Catherine Robbin, Sylvia McNair, John Nelson, Orchestre de l'Opera de Lyon Berlioz: Béatrice et Bénédict (1) Play Berlioz, Béatrice et Bénédict (1862), Acte I, No. 8 / Duo nocturne: Vous soupirez, Madame? - Nuit paisible et sereine Catherine Robbin, Ursule Chœurs et orchestre de l’opéra national de Lyon • John Nelson (1992) The Banquet, Magritte Beatrice et Benedict Play I just watched a friend of mine perform Je veux vivre (and she sang it quite wonderfully) and all it makes me want to do is sing a bunch of French stuff.

This is my DREAM ARIA and one I hope to sing at the end of my senior recital, if my voice teacher will let me… It’s Béatrice’s aria in Hector Berlioz’s opera, Béatrice et Bénédict (based closely on Shakespeare’s “Much Ado About Nothing,” of which Berlioz was a huge fan). Just before the aria begins, Béatrice has discovered that Bénédict is secretly in love with her. In the beginning, she sings about her initial confusion and then reflects on a dream she had in which she found Bénédict lying dead underneath a tree. By the end, she admits that she’s in love with him, too. Also, this is Joyce DiDonato (MY IDOL) singing. Berlioz Beatrice and Benedict See also Texts and Documents ; Berlioz Libretti The comic opera Béatrice et Bénédict, composed between 1860 and 1862, was Berlioz’s last major work.

It was performed six times in Berlioz’s lifetime under his own direction, four times at Baden-Baden in 1862 and 1863, and twice at Weimar in 1863. Based on a simplified version of the plot of Much ado about nothing it is another example of his life-long admiration for Shakespeare who inspired several of his greatest works (as early as 1833 Berlioz had toyed with the idea of writing an opera on the subject). The Overture is one of Berlioz’s most delicate and subtle orchestral pieces, and its allusiveness constantly teases the listener. Unlike Benvenuto Cellini , where the main theme of the overture does not in fact appear in the opera, all the music in the overture to Béatrice et Bénédict is adapted from the opera. Though drawn from no less than six different arias or ensembles, the music is seamlessly fused by Berlioz into a coherent symphonic whole, much as Weber had done in his overtures to Der Freischütz, Euryanthe and Oberon.

The Sicilienne, which reappears twice in the opera, early in the first act then as an entr’acte, uses in a modified form a melody composed by Berlioz in 1819, Le Dépit de la bergère (H 7). The original melody dates thus from his early years in La Côte St André even before he came to Paris in 1821.

Béatrice et Bénédict | Opéra Comique Béatrice et Bénédict Béatrice et Bénédict Hector Berlioz OPÉRA COMIQUE in two acts, 1862.Libretto by Hector Berlioz based on Much Ado about Nothingby William Shakespeare Presentation of the work 30 minutes prior to each performance Musical direction, Emmanuel Krivine Stage direction, Dan Jemmett With Christine Rice, Allan Clayton, Ailish Tynan, Elodie Méchain, Edwin Crossley-Mercer, Jérôme Varnier, Michel Trempont, Giovanni Calò, Bob Goody, David Lefort les éléments To read before the show - Béatrice et Bénédict Présentation Renaissance Italy, the grand shores of Sicily, the winds from the sea and war epics, the battles of wits in courts where lords and artists develop a common way of life: romantic reverie during the first centuries of modern history gave numerous masterpieces to the plastic arts and opera. For an idealist coupled with a lover of Italy such as Berlioz, Shakespeare’s comedy depicts a long-entertained subject.

With this return to sources, Berlioz created a work that reflected him – caustic and tender, sublime and grotesque, sensitive and powerfully lyrical – and one of the most beautiful compositions of the genre. “Love cannot give an idea of what music is, music can give an idea of what love is… Why distinguish the one from the other? They are the two wings of the soul.” Hector Berlioz Direction of the chorus, Joël Suhubiette Stage direction assistant, Meriam Korichi Choral director, Nathalie Steinberg Alberto (le narrateur), Bob Goody Le Messager, David Lefort (membre du chœur les éléments) les éléments La Chambre Philharmonique Production, Opéra Comique Co-production, Grand Théâtre de la Ville de Luxembourg Associate co-producer, Palazzetto Bru Zane – Centre de musique romantique française With the support of : Synopsis Act I In Messina in the 16th century the Sicilians celebrate victory over the Moors by the troops of valiant general Don Pedro, whom governor Léonato is about to receive.

His daughter Héro awaits the return of her beloved Claudio with impatience, but her niece Béatrice taunts military valor, aiming her sarcastic remarks at another officer, Bénédict. The reunion is as tender between the engaged couple as it is stormy between Béatrice and Bénédict, who trade insults and mockery with a strange pleasure. When Claudio learns of his imminent nuptials from the general, he is as delighted as Bénédict is horrified. Don Pedro and Claudio conspire to lead the two enemies to also marry in accordance with the governor’s secret wish. Somarone, the music teacher, conducts his choir and orchestra for the evening festivity. His so-called masterpiece is given a rough handling by the choristers and rehearsed before a general not so keen on music. When the musicians have left, the general and Claudio start a conversation about Béatrice with the purpose of making Bénédict believe that she is madly in love with him. The young man eventually recognizes Béatrice’s qualities and decides to give up his pride and succumb to love. On her part, Héro had a similar discussion with her attendant Ursule and Béatrice overheard them.

The night is falling with its share of promises. Act II In the governor’s palace, the banquet is in full swing and the cellar is soon empty. Already quite drunk, Somarone improvises a drinking song for the guests before the ceremony. Béatrice is tormented by her feelings but she eventually admits to herself that she loves Bénédict and that her aversion might have been fear to yield to love. Surprised and overjoyed to find a softened Béatrice, Héro and Ursule undertake to convert her to marriage. Before the wedding celebration, the two former enemies are on the verge of quarreling but Bénédict succeeds in stirring the defiant maiden. As the bridal procession enters, a second marriage contract is produced which hastens avowals: Béatrice and Bénédict get married… for the better and for the worse.

With the support of : Berlioz: Béatrice et Bénédict - John Nelson | Songs, Reviews, Credits | AllMusic Berlioz: Béatrice et Bénédict google+ AllMusic Review by Stephen Eddins Béatrice et Bénédict, Berlioz 's last completed work, is based on Shakespeare 's Much Ado About Nothing, but the libretto, by the composer, dispenses with most of the intrigue of the original and reduces the plot to a single premise: Béatrice et Bénédict mask their affection for each other by squabbling, and then finally come to their senses and get married. Although designated an opera, it is closer in effect to an opéra comique because of its very extensive use of spoken dialogue. The effectiveness of a recording of an opera with this amount of dialogue depends at least in part on the persuasiveness of the spoken drama, and on that count this version is largely successful because it uses professional actors. They make the comedy plausibly fun, so that the listener is fully engaged, not just waiting around impatiently for the music to start up again.

A great amount of attention has been given to production values, with impressive sound effects and realistic spatial blocking. The vocal performances are for the most part well taken, but the women outshine the men. Soprano Sylvia McNair in the relatively small role of Héro practically steals the show. Her aria, "Je vais le voir," is the undisputed highlight of the album because of the music -- this is Berlioz at his most melodically eccentric, most deeply felt, and most inspired -- and because of McNair 's radiant, soaring performance. A close runner-up is the gorgeous, graceful women's trio, "Je vais d'un coeur aimant être la joie et le bonheur suprême," with McNair , Susan Graham as Béatrice, and Catherine Robbin as Ursule, Héro's lady-in-waiting. The rhapsodic duet with McNair and Robbin, "Nuit paisible et sereine!" also deserves mention, as does Béatrice's aria, "Dieu! que viens-je d'entendre?"; Berlioz 's writing for women in this opera is consistently spectacular.

In the opera's leading role, Graham sings with warmth and smooth lyricism, but because of the fragmented nature of the opera, it's difficult for her, or almost any other cast member, for that matter, to establish much of a sense of dramatic momentum. An exception is baritone Gabriel Bacquier as Somarone, a comic character invented by Berlioz to lampoon the pomposity of the composer Spontini . Bacquier is in excellent vocal form and he is a natural comedian, and he alone performs the spoken dialogue as well as singing. The remaining singers, Jean-Luc Viala as Bénédict, Vincent le Texier as Don Pedro , and Gilles Cachemaille as Claudio, are adequate at best. John Nelson , leading the Orchestra and Chorus of l'Opéra de Lyon , delivers an exceptionally polished performance and keeps things moving at a vivacious clip. The sound of the 1991 recording is disappointingly one-dimensional (except, paradoxically, for the sections featuring the actors), dull, and sometimes distant.

Track Listing - Disc 1 Berlioz Meets Bard In 'Beatrice And Benedict' : NPR Berlioz Meets Bard In 'Beatrice And Benedict' Berlioz Meets Bard In 'Beatrice And Benedict' From the Champs-Elysees Theatre Embed Embed June 19, 200912:00 AM ET THE HIT SINGLE Act One ends with "Serene and Peaceful Night," a gentle duet for Hero and Ursula (sopranos Nathalie Manfrino and Elodie Mechain). While strolling in the moonlight, they reflect on the delights nighttime brings to the souls of lovers. "Serene and Peaceful Night" Embed Embed <iframe src="" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player"> The B Side At the end of an extended, Act Two solo scene, Beatrice (mezzo-soprano Joyce DiDonato) wonders about her feelings for Benedict. In a virtuosic coda, she asks herself "Do I Love Him?" — and ecstatically concludes that she does.

"Do I Love Him?" Embed Embed <iframe src="" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player"> It's hardly a surprise that some of the greatest operas of all time are based on plays by Shakespeare. What is surprising is that there are so few of those operas. Hector Berlioz composed his operatic version of Shakespeare's Much Ado About Nothing early in the 1860s. Getty Images/Hulton Archive hide caption toggle caption Getty Images/Hulton Archive Actually, composers have cranked out hundreds of Shakespeare operas, but only a few of them truly cut the mustard. That is, barely a handful of those operas are widely considered worthy of Shakespeare's legacy, and of a regular place in the opera house. Most opera fans would count three of Giuseppe Verdi 's operas among them: Macbeth , Otello and Falstaff . Others might include Charles Gounod 's Romeo and Juliet, or Benjamin Britten 's A Midsummer Night's Dream. And that's pretty close to the end of the list.

Still, there may just be a Shakespeare-based, operatic dark horse that deserves more consideration than it gets. It's an appealing and insightful comedy, called Beatrice and Benedict, that combines the signature brilliance and bombast of composer Hector Berlioz with the sly, comedic insights of Shakespeare's Much Ado About Nothing. Yet somehow, the work scarcely registers on many people's operatic radar — maybe because Berlioz is known more for his brilliant orchestral works than for his operas. So it's ironic that it was the composer's instrumental music that gave him the opportunity to write the opera in the first place. Berlioz was 23, in the early 1830's, when he saw a series of Shakespeare's plays performed by an English theater company in Paris. He was overwhelmed by the experience, and began thinking about a musical setting of Much Ado About Nothing. But nothing came of the idea for nearly 30 years. Then, in the 1850s, Berlioz began presenting summertime concerts in the German spa town of Baden-Baden. The composer was hired by a casino owner to entertain his patrons, and the concerts were a great success.

A few years later, the casino owner decided to commission a full-scale opera from Berlioz. The result was Beatrice and Benedict, which was premiered at a Baden-Baden theater in 1862. Article continues after sponsorship On this week's World of Opera, host Lisa Simeone presents Beatrice and Benedict from the Champs-Elysees Theatre in Paris. The stars are mezzo-soprano Joyce DiDonato and tenor Charles Workman in the title roles, and the performance is led by one of the world's foremost interpreters of Berlioz's music, Sir Colin Davis. See the previous edition of World of Opera or the full archive The Story of 'Beatrice and Benedict' June 18, 20094:52 PM ET WHO'S WHO? National Orchestra of France Radio France Chorus Sir Colin Davis, conductor American mezzo-soprano Joyce DiDonato stars as Beatrice in the Champs-Elysees Theatre's production of Beatrice and Benedict.

Sheila Rock/Virgin Classics hide caption toggle caption Sheila Rock/Virgin Classics Hector Berlioz wrote the libretto for Beatrice and Benedict himself, following Shakespeare's original Much Ado About Nothing fairly closely — or at least parts of the original. For the opera, Berlioz slimmed the story down, eliminating subplots and concentrating on the relationship between the title characters. The setting is the Sicilian town of Messina. As ACT ONE begins, the citizens have gathered in a park to welcome Don Pedro of Aragon. He's returning after a successful battle campaign. A man named Leonato enters with his daughter, Hero, and his niece, Beatrice. Hero is ecstatic, because Claudio, her lover, is expected to arrive soon with the victorious army, and the two hope to be married. Left alone, Hero reflects joyfully on her future happiness. When Don Pedro arrives, along with Claudio, the engagement is made official. Meanwhile, another couple is having a very different sort of reunion. Beatrice and Benedict always seem to be at each others throats, trading jibes and insults. But aside, each confesses to taking a curious pleasure at baiting the other.

Don Pedro congratulates Claudio on his betrothal, telling him how lucky he is. Then the two men turn to Benedict. Surely, they say, Claudio's happiness must tempt Benedict to find a wife as well. Benedict scoffs, declaring that he's not the marrying type. He says he has nothing against women, but he could never trust one. As far as he's concerned, women are as "gentle as a thistle." If he ever does fall for a woman, he tells his friends, they're free to hang a big sign on his house, saying "Here you'll find Benedict, the married man." Don Pedro and Claudio think that Benedict is all bluster, and decide to trick him into falling in love with Beatrice — which they suspect may already be happening. They allow Benedict to overhear them talking about Beatrice, and how she's fallen head over heels for Benedict. Suddenly, Benedict changes his tune. Alone, he's admits to being thrilled that Beatrice is in love with him, and wants to be with her — but he's reluctant to believe it might actually happen. In the act's final scene, Hero is alone with her companion, Ursula.

We learn that Beatrice has been the victim of the same trick that was played on Benedict — an "accidentally" overheard conversation about how much Benedict loves her. As the act ends, Hero and Ursula sing a gentle duet about the beauty of the evening, and the joys nighttime can bring to the souls of lovers. ACT TWO begins with a traditional dance, a Sicilienne, and a drinking song. Alone, Beatrice admits that, just maybe, she really is falling for Benedict. But she's not happy about it. If it's true, she says, she'll have to say goodbye to her mirth, and to her liberty. Hero and Ursula get together and rhapsodize about the ecstatic love between Hero and Claudio. Beatrice joins them, agreeing that the two will surely have a joyful and passionate marriage. The other two women feign amazement at Beatrice's new attitude toward romance; she seems to be softening. Beatrice denies this, still maintaining that she could never love any man, especially Benedict. Love, she says, can only end in betrayal and heartbreak. At first, Hero seems to agree — but only as a joke.

The three women go back to praising Hero's future happiness with Claudio, and their trio ends gently. A distant chorus is heard, summoning Hero to her wedding. Beatrice listens for a moment and makes to leave — but she runs into Benedict. Their nervous encounter is cut short when the wedding procession arrives. Hero and Claudio sign their wedding contract. Then the notary produces a second contract, asking if anyone else is ready to marry. Everyone looks pointedly at Beatrice and Benedict. On cue, four men enter, carrying a huge placard. It carries the fateful message: "Here you'll find Benedict, the married man." Benedict's friends read the message aloud. Benedict repeats it and then says, "Married ... and content." The opera ends with a duet, as Beatrice and Benedict admit their true feelings. OK, they concede, they really are in love, at least for today. Perhaps they'll be enemies again ... but not until tomorrow.

| Brigham Young University May 15, 2011 | Cecelia Fielding Share: Comment The Brigham Young University School of Music will present the two-act opera “Béatrice et Bénédict” by Hector Berlioz, based on William Shakespeare’s “Much Ado About Nothing,” Wednesday through Saturday, June 8-11, at 7:30 p.m. in the de Jong Concert Hall. Tickets are $6 on Wednesday and $10 on Thursday, Friday and Saturday, and can be purchased at byuarts.com/tickets or by calling the Fine Arts Ticket Office at (801) 422-4322. The opera tells the story of two quarrelling acquaintances who are tricked by their friends into falling in love with each other. The dialogue will be in English with songs being performed in French with English subtitles. According to director Arden Hopkin, the comic opera is set in Messina, Italy, where the town awaits the return of the Sicilian army from the Moorish wars. The governor’s daughter, Hero, is especially awaiting her betrothed, Claudio. Béatrice, her cousin, is staying with them.

Bénédict, a lieutenant in the army, also returns in the company. “No sooner is the marriage [of Hero and Claudio] arranged than Béatrice and Bénédict begin to spar with each other in their ongoing battle of the sexes,” Hopkin said. “Amidst preparations for the wedding, the other characters hatch a plot to trick Béatrice and Bénédict into falling in love with each other.” The show is double-cast, and includes Annalise Belnap and Jennifer McKay as Béatrice, Jubal Joslyn and Justin Call as Bénédict, Shannon Fry and Laura Snow as Hero, Jordan Reynolds and Corey Bennett as Claudio, Jade Howard and Valerie Perkins as Ursule, Kevin Smith and David Petrucci as Don Pedro, and Brandtley Henderson and Ross Coughanour as characters Somarone and Leonato. Others on the production team include Auriela Joslyn, conductor; Lisa Elzey, production stage manager; Melissa DeGuire and Maria Schulte Gardner, costume designers; Marie Steck Johnson, makeup and hair designer; and Mike Handley, lighting designer.

For more information, contact Arden Hopkin at (801) 422-3157 or email jahopkin@byu.edu . Writer: Mel Gardner

Question: 'Beatrice et Benedict' is an opera by Berlioz, based on which play by Shakespeare?
Answer: 'MUCH ADO ABOUT NOTHING'